Those who like to be poked in the ribs by a musical are running out of excuses for not seeing Hairspray. Two films, a west End run and now a national tour of this hugely successful show find it packing them in at the Hippodrome. A cheerful satire on American TV and culture, a nod towards religious hypocrisy, a love story and a polemic against segregation in America – Hairspray takes on a lot in its packed, two plus hours.
Link Larkin (Ashley Gilmour) is teen swoon material and the object of the waking fantasies of talented and liberal minded, Tracy Turnblad, a girl who is not going to let a little plumpness get in the way of her ambitions. These are to dance on Baltimore TV by way of engaging the affections of Link who fronts the station’s Corny Collins teen pop show. The Baltimore of 1962 shows us the uncomfortable reality of a not too distant, segregated past, where the vexed question of racial discrimination disfigures American society in which air-time for blacks is parsimoniously parcelled out on ‘negro days’.
Tracy, who ‘would make every day negroes day,’ finally gets on to the show after learning some cool moves from Seaweed (Dex Lee) and the other black dancers, who, along with singer, Motormouth, are gracelessly given their tightly rationed spot by producer, Velma Von Tussle (Claire Sweeney). Velma’s daughter, the spikily and spitefully cute, Amber (Lauren Stroud) also has designs on the affections of Link whilst coveting the title of product ambassador for the show’s sponsor, a hairspray manufacturer.
The show is full of larger than life, colourful caricatures, a dame (Tracy’s mom, Edna – Tony Maudsley), great dancing to some upbeat numbers, a good 60s period feel, a tight band and definitely has it’s heart in the right place – it could, for example, be taken as a tribute to the Little Rock Nine, who refused to accept the educational apartheid of the time. The biggest number, Motormouth’s, I know Where I’ve Been, given by the incomparable Brenda Edwards, is, as a protest song, powerful and moving. There are no weak links, with all the central roles – indeed all the cast on top form. Freya Sutton is a spring loaded and beaming Tracy who bounces her way through the performance. And Monique Young as Penny, the downtrodden daughter of a religious and racial bigot has some relish for the transformation she undergoes having thrown off the parental yoke.
In spending its energy in taking on a number of themes it doesn’t quite reach the heights in any, but perhaps we can forgive that, given the amount of energy generated during the performance. Above all this show is about fun and it delivers in all departments. ★★★★☆ Graham Wyles 8th March 2016
